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Sara Alexander is a unique artist. An artist in musical terms, of course, a splendid musician (accordion and guitar), singer and composer, who has recorded and worked the world over. But also, an artist of life, full of curiosity, joie de vivre, and most of all, full of tolerance and understanding of human nature. Born in Israel of a Romanian, Jewish, gypsy father and a Turkish Jewish mother, Sara took to music at an early age, absorbing all the influences from the surrounding Arab culture as well as from the Jewish immigration, bringing with it songs from all over the world. She can count on the complicity of musicians that are, like her, travellers from different origins, and who master the arabesques of the oud, the saz or the ney as brilliantly as they play various electronic instruments. Her warm, deep voice, which is that of an oriental blues singer, and her sensitive and luminous accordion play walk the confines of Greece, Turkey, Spain and North Africa, melting all into an imaginary country where gypsy passion, oriental languor, klezmer humour and contemporary composition grow into something new and original. Sara started travelling with her music early on, and has lived in Europe for many years now, never forgetting about the problems in the part of the world from which she has come, and doing all she could to help contribute to the understanding between the people, especially between Israelis and Palestinians. For her engagement, that made her meet with many personalities from the political and social world, she has had much recognition (from the UN, from the French government that awarded her the Legion d’Honneur, from the Smithsonian Institute that made her a laureate, and many more). She will never stop pursuing in her quest of mutual understanding, and as we all know, music is the best way to communicate across borders and language barriers.
Her album “Café Turc” is strongly anchored in the traditions of the people around the Mediterranean Sea, but also inspired by the Balkan musical tradition, assembles instrumentalists from Turkey, Greece, France, and Italy. Dream of a Gypsy cabaret in Istanbul, add some modern, arab, jewish & indian influences. There, you've got a bitter & sweet Turkish Coffee for a journey till the end of the night.
01 - Café Turc
02 - Madré
03 - Nakhash
04 - Hirourim
05 - Doudaim
06 - Orkha Ba Midbar
07 - Yam Hatichon
08 - Yonathan
09 - Sabar
10 - Syoum
Sara Alexander: voice, accordion, guitar
Pierre Rigopoulos: darbouka, zarb, daf
Anello Capuano: oud, saz, mandolin
Philippe Briegh: clarinet, violin, saxes
Guest musicians:
Mesut Ali: ney
Yannis Vlachos: bouzouki, guitar
Link
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Ökrös, undoubtedly one of the leading folk music ensembles today, play mainly Transylvanian folk music. Led by the brilliant violinist Csaba Ökrös, they are one of the best interpreters of this type of folk music and on this new release are joined by other musicians of equal excellence: Kálmán Balogh on Cimbalom, Aladár Csiszár on violin, and Ágnes Herczku on vocals.
The theme of this recording is one of the most famous Hungarian folksongs. The song "I Left My Sweet Homeland" became the most important symbol and "song of belonging" to Hungarians living in Hungary. Also to the millions of emigrants who were forced to leave their homeland; and to other millions who, due to the turbulent border changes of the twentiest century, found themselves in their own homes as "citizens" of an alien land.
"The Ökrös Ensemble, led by the brilliant violinist Csaba Ökrös, are probably the finest interpreters of Transylvanian village music in the world. On I Left My Sweet Homeland, the five regular members of the ensemble are joined by Aladár Csiszár, a Gypsy violinist who is one of the last great players of traditional village music; Ágnes Herczku, a young singer who is one of the leading figures in the Hungarian folk music revival; and Kálmán Balogh, one the most accomplished cymbalom players in Europe. On tracks such as "Rábaközi Karéj, dus, Csárdás és Friss," a collection of dance tunes that features the ringing tones of Balogh's cymbalom, or the "Máramarosi Román és cigány Dallamok," a medley of Gypsy tunes, the band navigates the intricate rhythms and complex melodies with aplomb. But the finest moments on this collection come when Herczku steps up to the microphone. Whether she is singing a lively melody like "Csingerálás (The Gypsy Jumping Dance)" or the moving a cappella lament "I Left My Sweet Homeland," she infuses the music with a passion that is rarely equaled."
1. Gyimesi keserves
2. Csabai (Mezőség) keserves, szökős, ritka és sűrű magyar
3. Magyarszováti, széki csárdás
4. Rábaközi karéj, Dús, csárdás és friss
5. Csiszár Aladár nótái (Asztali és forduló)
6. Máramarosi román és cigány dallamok
7. Kalotaszegi mulató nóták, invirtita és cel iute (forgatós és sebes), szapora és keserves
8. Csigány csingerálások
9. Elindultam szép hazámból...
Csaba Ökrös - violin
Miklós Molnár - violin
László Mester - violin, violas, drum
László Kelemen - 3 stringed viola
Róbert Doór - double bass, guitar
Guests:
Ágnes Herczku - voice
Aladár Csiszár - violin
Kálmán Balogh - cimbalom
Link
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Formed at the beginning of the 90s at the Ulan Bator conservatory in Mongolia by four young instrumentalists, Egschiglen (Beautiful melody) with their new album Zazal once again propose a wide repertory that embraces both the tradition and modernity of their country, for which they have become renowned musical ambassadors. Over the years the group has learned how to harness their cultural heritage (especially shamanic, lamaic and epic chants) and fuse it with more modern instrumental trends creating musical structures that are aesthetically up to date without having to rely on hybridization with foreign elements. The music on Zazal (a propitiatory rite practised when a member of the family leaves on a long journey) is extremely luminous and free, achieving a perfect balance between tradition and modernity, stasis and movement. The traditional instruments used are the main force behind the shaping of the groups sound...however, what will probably be the biggest surprise to the listener is the originality of the khmi chant. This is a highly peculiar technique that requires complete mastery of the voice which is subjected to various acrobatics to hold together both a drone and different harmonics with the result that miraculous sounds both deep and vertiginously acute are simultaneously emitted from the singers throat.
"From Mongolia comes a new fantastic cd by the group Egschiglen. Although they are not as known as Huun Huur tu and Yat-kha, this group is at least as good as both of these bands. Their last cd was released five years ago and for me that cd was my first meeting with the Mongolian traditional music. Their new cd Zazal is a masterpiece and a big leap forward comparing with their last cd. Fresh arrangements and a strong mixture between tradition and modern acoustic music. Besides their famous singing techniques they use traditional instruments such as the Morin khuur, a horse-headed violin which is played like a cello, the Yoochin which relates to the dulcimer and the Thobshuur which is a two-string lute. Their music is sometimes hypnotising like in the song Yamaanii boodog which consists of the Khoomi chant sounding like they swallowed a few flutes, and intriguing rhythms. Egschiglen also has a female singer which is rather unique, at least I hardly ever heard a female singer in traditional Mongolian music before. The album is very friendly for the ear and can also be enjoyed by people who would like to be introduced to the intriguing music of Mongolia. I had to wait five years for their new album but it's more than worth waiting for. Egschiglen delivered the best album of 2002 so far."
01. Hartai Sarlag
02. Uils Dundaa Sain
03. Yamaanii Boodog
04. Han Huhiin Uuland
05. Talin Salhi
06. Manduhai
07. Herlengiin Barya
08. Haramgui
09. Setgeliin Egshig
10. Moriin Khuur Konzert
11. Elstiin Ganga
12. Yan Tai Wan Göögöö
13. Builgan Shar
Tumenbayar Migdorj (moriin khuur, vocals)
Tumursaihan Yanlav (morrin khuur, aman khuur, vocals)
Uuganbaatar Tsend-Ochir (ih khuur)
Batbold Wandansenge (percussion, denshig, vocals)
Amartuwshin Baasandorj (khoomii vocals)
Sarangerel Tserevsamba (yoochin, vocals)
Link
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"Latvia's folk revival is a pretty recent phenomenon, dating from only the early 1980's. It began as a reaction to the Soviet occupation and continued to grow along with the country's independence movement. ILGI was formed at the beginning of the revival by singer/violinist Ilga Reizniece and has gone on to release eight albums. The group uses traditional folk song as a springboard for rock, jazz, and new age experimentation. Using traditional and contemporary instruments, they create a sound that is both fresh and ancient. Each song is like a miniature fable, telling a short but evocative story using imagery from folk culture and the natural world.
The lyrics have a colorful atavistic poetry that says more in a few short verses than many lengthy ballads do. They are set to music that has an anthemic sweep and rock-inspired drive. Vilnis Strods' assertive drumming provides a propulsive underpinning for the mix of hammered dulcimer, bagpipes, fiddle, jaw harp, electric guitar and bass. Each track has a unique personality created by varying mixes of instruments and no fewer than six different vocalists (three of them guests), each with his or her own timbre and take on the music. The sexually suggestive "Es Guleju Maigu Miegu" (I was a light sleeper) is one of the most driving tracks on the release, with fast-paced alternating male and female vocals over swirling fiddle and bagpipe. "Runa Laudis, Ko Runa" (People Are Gossiping) has a quieter, vaguely jazzy 6/8 sweep. Latvia has a fine group of musical ambassadors in this versatile, skilled ensemble."
The album features the voices of Ilga Reizniece, Maris Muktupavels, Gatis Gaujenieks and Ruta Muktupavela, Ilga’s mesmerizing violin, Maris on kokle, dudas (bagpipes), accordion and recorder, Gatis on bass and giga, Egons Kronbergs on guitars and Vilnis Strods on drums and percussion. In the 2003 year of its release it reached 17th place in the World Music Charts Europe, and was praised as one of the top twenty world music albums of the year.
01.Nesmejieti jus lautini
02.Rita rasa krita
03.Shkersu dienu saule teka
04.Kaza kapa debesis
05.Ozolinsh sadega
06.Tiem bus sargat parvadinu
07.Es ar sauli sadereju
08.Tumsha nakte zala zale
09.Ozoliti zemzariti
10.Runa laudis, ko runa
11.Kas tur naca par jurinu
12.Es guleju maigu miegu
13.Jura gaju naudu seti
Link
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"What do you know of the island of Reunion, which lies west of Mauritius in the Indian Ocean? Little, probably, beyond the fact that its local people produce sugar, and that rich tourists bask in the sun. If you listen to Digdig, you'll get a whole new perspective: what that globe-trotting guitarist Bob Brozman has done in this particular collaboration is to celebrate an intoxicating musical style entirely different from any other. His musical guru here is the multi-talented René Lacaille, who moves effortlessly between the guitar, accordion, and sundry percussion instruments as well as singing the local ballads; what these two musicians get up to together has irresistible charm. Their duets are fast and fluent, and when backed by Lacaille's percussionist go at a dizzy pace. As befits an island with global links, there are echoes of many other musics here--French, Latin-American, Arab, Portuguese--but they all combine into a gloriously heady brew. The songs seem casually tossed off like improvisations, but you can sense the intricate work which has gone into these dazzling instrumental tracks. This CD is seriously addictive."
Album Description
L'Ile de la Réunion is the alluring volcanic island situated 600 miles east of Madagascar in the Indian Ocean and is home to a vibrant culture that is passionate, joyous, sexy and rhythmic. 'Digdig' unlocks the shimmering beauty of this island's music with this magical collaboration between Réunion's accomplished accordionist and guitarist René Lacaille and the guitarist and musical explorer, Bob Brozman.
Colonised by the French 300 years ago who brought slaves from Africa, Madagascar and India mixed with Chinese and Arab immigrants, Réunion has a unique and rich cultural diversity suffused with hybrid vigour and influenced by the forces of nature.
Bob Brozman has dedicated the last twenty years to playing, researching and recording music from numerous islands around the world. He has found that, worldwide, island music resonates with the joy of immediate living, the sorrow of colonial history, and the strength of the people overcoming hardship. It was only a matter of time before the ethnomusicologist and king of the Hawaiian slide guitar stopped off at La Réunion. Brozman and Lacaille began playing together as soon as they met and struck up a great friendship. Brozman says of Lacaille: `the unique musical styles of La Réunion contain some of the world's richest and most soulful sounds. René brings to this already complex music a new level of fiery creativity and innovation, both in composition and in playing'.
Brozman's guitars weave effortlessly through the invigorating tracks that are almost all composed by Lacaille. 'Digdig' is as diverse as it is vibrant and full of humour, mixing the traditional Réunionnais styles of sega (influenced by the French colonists) and maloya (its older African form) with jazz and Southern American blues.
01. Zok
02. 5 O.P. (Syncope)
03. An Dio
04. Lang La
05. Oh! Le La O
06. Fraka
07. Zi Bi Pi Blues
08. Pondaurat
09. Place D'youville
10. Loze
11. Ti Guitar La
12. Debussy A La Reunion
13. Mam'zelle Rico
14. K Ba
15. Maria Ya Ya
Link
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"The concept of this debut album from Spain's leading roots ensemble is that you are listening to a radio broadcast in Tarifa, Spain's southernmost point, so that you might hear a mixture of sounds from Spain and North Africa. And indeed fuzzy, distant radio sounds introduce one song and close the album. The album features an incredible variety of instruments, including among many others: guitar, tar (Persian lute), buzuki (Greek mandolin), derbouka (North African clay drum), ney (Arabic flute), crumhorn (a loud, buzzing Medieval wind instrument), and the Indian harmonium. The group is not shy about including modern popular instruments like soprano and tenor saxophone, electric organ, and electric bass. The album features almost as many styles as it does instruments, yet they tend to come together as one new style, rather than sounding like a musical salad. The album starts off with the title track, a smooth mix of rumba and flamenco. "Oye, China" is a love lament that plays the layered clip-clop rhythm of the plucked instruments off the more continuous sounds of the accordion and the breathy nsuri (Indian bamboo flute). "Lamma bada" is a straight reading of one of the most oft-played tunes of the Arab world, using Radio Tarifa's favored instruments, retaining the song's modal structure (i.e., all the instruments, even the bass, playing the same line at once). One song later in the album stands out from all the rest. It is an adaptation of a song by a Medieval troubadour named Walter von der Vogelweide originally called "Nu Alrest Lebe Ich Mir Werde," but which Radio Tarifa simply calls "Nu Alrest." Dominated by the crumhorns and the melancholy tenor of Javier Raibal, "Nu Alrest" carries a potent charge of fantasy and sadness, conjuring images of crossing the desert alone on camel. It is imagination like this that makes Rumba Argelina one of the most important world music albums of the 1990s."
01. Rumba Argelina
02. Oye China
03. Lamma Bada
04. Manana
05. La Canal
06. El Baile De La Bola
07. Soledad
08. La Mosca
09. Tangos Del Agujero
10. Nu Alrest
11. La Pastora
12. Ronda De Sanabria
13. Bulerias Turcas
14. Nina
Fain S. Duenas - Bass, Bouzouki, Percussion, Bongos, Triangle, Vocals, Balafon, Darbouka, Taragat, Cumbus, Afuche, Mixing, Cowbell, Guimbri, Djembe, Pandeiro, Choir, Chorus, Tabla, Guitar
Benjamin Escoriza - Guitar, Vocals, Handclapping
Eduardo Laguillo - Harmonium
Vincent Molino - Ney, Bansuri,Crumhorn, Casaba
Juan J. Ruiz-Leite - Bass
Javier Paxarino - Clarinet (Bass), Bansuri, Flute (Alto), Flute (Wood), Kaval, Sax (Soprano), Sax (Tenor)
Ramiro Amusategui - Oud
Ali Reza Gholami - Viola
Javier Ruibál - Vocals
Cuco Perez - Accordion
Marcial Moreiras - Fidola
Gerardo Nunez - Guitar
Link
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Romano Drom practises music as a freedom. A way of discovering, accessing and sharing the world. Far from confining themselves to a gypsy folklore often claimed by the "gadgés", the Antal Kovács father and son group makes capital of new tones and instruments, common elsewhere but unusual in the Hungarian Olahs tradition which often includes 'domestic percussion' played on aluminium pots, spoons and other utensils in support of the singing. This process may seem obvious to a number of musicians. For them, when one understands the hard nature of their lives and the fact that they are always torn between their loaded tradition and the clarion call of post-modernity, it becomes a question of demanding work from the ferryman of culture. These few songs encapsulate this transition and Romano Drom is at the forefront of this new generation of gypsy music.
01.Dema Mama
02.Chi Mangav Me!
03.E Bax
04.Mangaipo
05.Mishtoj Mange
06.Xanamika
07.Giabaras
08.Ande Pacha
09.Na Rov Gazhi
10.Duma Boldav
11.Matyilem
12.O Milaj
13.Ande Lindri
Antal "Anti" Kovács Jr. - guitar, lead and backing vocals, churn, spoons, percussion
Antal "Gojma" Kovács - lead and backing vocals
József "Joco" Balogh - lead and backing vocals, guitar
Zsigmond "Csika" Rafael - milk churn, vocal bass
Guests:
Zoltán Orosz - accordion
László Molnár -double bass
Mónika Lakatos - lead vocals
János Bárzsanyi - saxophone
Róbert "Harcsa" Farkas - violin
Mihály Rostás - vocal bass, churn, cajon, percussions
Link
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Classic Muzsikás from the beginning of their career, at the start of the Táncház revival. Essential listening for anyone interested in Hungarian Folk Music today.
"... Hungary's finest active folk troupe... inexhaustible themes handled by superb musicians."
"The ebullient music must have been a shock to anyone who thinks that Hungarian music is gypsy violins... ... this raucously beautiful music..."
01. Lóra csikós (To Horse, Herdsman) Szatmár
02. Elment az én rózsam (My Sweetheart Has Gone Away) Szlavónia
03. Uccu, tedd rá (Get On, Put It On) Dél-Dunántúl
04. Széki táncrend (Programme of Dances From Szék)
05. Dudanoták (Bagpipe Songs) É-Magyarország
06. Héjsza (Hey-Ho) Gyimes
07. Indulj el egy úton (Start Out On A Road) Moldva
08. Virágok közt virág voltam (I Was A Flower Among Flowers) Mezőség
09. Gyimesi dallamok (Gyimes Tunes)
10. Bonchidai román forgatós(Romanian Dance From Bonchida) Mezőség
11. Dorombjáték (Playing The Jew’s harp)
12. Egyedem, begyedem (Children’s Games)
Sándor Csoóri - bagpipe, hurdy-gurdy, viola, drum, kobsa
Péter Éri - double bass, buzuki, cello, viola, tambura, töröksip, folk shawm
Dániel Hamar - double bass
Mihály Sipos - violin, flute, drum
Link
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On this album, the Zydepunks play big, barnstorming dance songs—massive, stomping, thumping, sweaty things with a piratical accordion played by a woman in a miniskirt and black stockings who is known in the publicity as Eve: no surname. If the musicians were performing this music live, then the floorboards would be shaking under the feet of the dancers, every ant in the room would be shooting out of its crevice or crack and running for safer ground. Beverages would fly.
Finisterre hits a good balance between keeping the music boisterous and genuine-sounding, and leaving it clear enough to be intelligible. In that room with its shaking floorboards, the pure amount of sound pouring down on you, around you, up from the floor, might dissolve everything in a slamming roar, but with Finisterre you can focus your mind on each instrument and hear a precision there that submerges itself in the whole. Listen to the fiddle in “When My Ship Sails Away”. It picks out each note with the exactness of an embroidery needle stabbing through canvas. At the end of “One More Chance”, it corkscrews itself neatly into a squeak.
The group formed in New Orleans in 2003 and has been based there ever since. Finisterre is its fourth album after 2004’s 9th Ward Ramblers, 2005’s ...And the Streets Will Flow with Whiskey, and last year’s Exile Waltz. Hurricane Katrina disrupted the lineup slightly, but the music doesn’t seem to have suffered. The musicians draw on several different folk traditions for their sound: klezmer here, Cajun there, Irish or English somewhere else. There’s zydeco too, obviously. The easiest thing to compare them to would be the Pogues, but Pogues with a strong New Orleans flavour and a singer who sounds raspy but not drunk. They have that same folk-for-the-hell-of-it vibe. Pub folk. They even sing about whiskey.
01. Papirossen in Gan Eden
02. Angel Whiskey
03. Blood Song
04. Por la Orilla del mar
05. Dear Molly
06. When My Ship Sails Away
07. One More Chance
08. Cuando crecerán los flores
09. Song For Mike
10. Long Story Short
11. La vie est courte et cruelle
Link
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In the liner notes to this, her first album, renowned Romany-Moravian vocalist and pianist Ida Kelarova dedicates her first album to the memory of her father, a Gypsy musician. This release is full of all pain of her father's death and her Moravian mother's rejection of Ida's Gypsy heritage. Track six, "Joj Mamo," is an old Gypsy song about motherly love which takes on the significance of a hymn as Kelarova ignores the original rhythmic arrangement and is carried by pure, desperate emotion. Keralova says,"When my father died, I could not cry, but I was singing, and I have sung ever since. He always told me, "Open your throat, open your heart, do not fear anything and sing."
01. O Postaris
02. Chodila Po Poli
03. Dzajori Romanio
04. Lakhere Bala
05. Joj Mamo
06. Ej Hora Hora
07. Som Roma Som
08. Andro Foros
09. Jsem Lehka
10. Ukolebavka
Link
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Istvánfi Balázs belongs to the new generation of Hungarian bagpipers. He taught bag pipe playing at the Hungarian Folk Music School in Obuda, and also makes them. He is a member of the Kalamona Band and often joins the Hungarian Bagpipe Orchestra in concert as well as playing solo.
In the last piece on this CD he pays homage to Béla Bartók, who without his tireless research work into folk music the Hungarian bagpipe tradition would be significantly poorer today.
01. Glossza - Gloss
02. Tánc - Dance
03. Hadiút - War Track
04. Bánat / Zöld búzában - Sorrow / In Green Wheat
05. Öreg nóták / Toborzó - Old Tunes / Recruiting Music
06. Két kanásztánc / Betyáros - Swineherd's Dance / The Outlaw's Track
07. Szól a duda - The Bagpipe is blown
Link
The first album of the band (Klezz Jazz) released in 2003. The lovers of folk, jazz and world music will all enjoy the nine songs this album contains.
The members of NIGUN, who don’t go only in for the same music but they are also friends, are mixing Jewish music (klezmer, sephard, folk-sacral) with jazz and free-improvisational elements.
"Impressive klezmer-inflected jazz set from a Hungarian band with some serious chops. Alto player Janos Vazsonyi reminds me of Lee Konitz at his fiery best, while clarinetist Daniel Vaezi has a lot of Perry Robinson going on. Great rhythm section work and inventive approach to oft-recorded pieces like 'Shnirele Perele."
1. Skutchna
2. Chosn Kalle Mazzeltov
3. Tumbalalajka
4. Hochmec
5. Majn Jingele
6. La ’Avoda Velamelacha
7. Shnirele:Perele
8. Chasn ojf Schabess
9. Fun Tashlikh
András Párniczky: guitar
János Vázsonyi: alto saxophone
Péter Nagy: bass
Csaba Gavallér: drums, derbuka
with
Dániel Váczi: soprano saxophone
Link
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"MAKÁM Group is the most characteristic Hungarian representative of the New Tradition. Its landmarks are eleven albums. Its music spans tradition and modernity, the East and the West, the duality of the collective and the individual and search for the ancient harmony.
The group which was founded by Zoltán Krulik, broke into musical life here as the Eastern Central European follower of the ethno-avantgarde trend, this period was nuanced by Asian, Far Eastern roots as well as Balkan, African effects or repetitive elements of contemporary music.
The latest period of MAKÁM Group (SkanZen, 2000; 9 Colinda, 2001; Sindbad, 2001 - Fonó Records; Anzix, 2003 - FolkEuropa) is characterised by the rediscovery of the archaic forms of Hungarian folk music and that of the song first of all.
The legacy of Bartók and Kodály, the synthesis of elements of archaic cultures and contemporary age is the unchanged musical credo of the MAKÁM Group.
The Makám ensemble was formed in 1984 with the purpose of establishing a peculiar form of community played music, and trying to show the common characteristics existing in music cultures of different peoples and contrasting musical forms. This is a sort of improvisative chamber music containing the elements of classical music as well a contemporary jazz and rock. Its melody and rhythm are influenced by East-European ethno and Oriental music. Beleiving that the ancient Hungarian folk music is deeply related to Eastern traditions, the group arrivedat cultures geographically far away from Hungary.
The name of the group, Makám, is a word of Persian-Arabic origin, referring to the structural signif icance in improvisational music. Particular chords in the band's style are due to the rarely heard rhythms and melodies on one hand, and, on the other to the original collective sound of instruments never experienced in the same way before. Besides the classical instrments such as saxophnes, clarinet, oboe, guitar, double-bass, the tunable tabla and two ancient instruments, the Balkanien kaval (wind instrument) and the Indian ghatam play an important role in the group's sounding.
Furthermore, several exotic stringed instruments plucked with a plectrum, and percussion instruments, such as marimba, kalimba, bamboo sansas, ektar, talking drum and bells, colour the harmony of the music. Most of these instruments are made by the group's idly on the original function of the instruments but tries to explore new possibilities in playing techniques, tonality and soring. They have made many discs and radio recordings of classical music and etno contemporary music in Hungary and abroad, and have given concerts in festivals, concert halls and jazz clubs throughout Western Europe with great success. The Makám is a most exciting creative group of the latest years. It has attracted attention to an impovisational, accord combining elements of contemporery music as well as jazz and rock with the roots of Eastern European, Asiatic and Balkan folk. Its name was once linked to that of the Kolinda already world-famous at the time. By now, it has become a determinative formation in world music."
9 Colinda:
"Kolinda is the comprehensive name of pastorals as well as Christmas carols, Nativity and new year songs in the Roumanian – and Slavic – speaking countries in Eastern Europe and the Balkan. It has its roots in the Middle Ages, coming from the Latin world calendae. It has been found in Polish manuscripts since the XIIth century. Kolinda texts and functions have never had an exclusively ecclesiastic character. The songs have been of Roumanian children going begging from door to door – just like Christmas carol singers in Hungary – and of Polish people playing the Nativity or tending a flock. Kolinda tunes were treated by Chopin as well as Bartók."
01.Mennyei szép hajnal - Heavenly beautiful dawn
02.Hajdan rég - Once for a long time
03.Ő jön a szánon - He comes on the sleigh
04.Hull a tél haja - The hair of the winter is falling
05.Magnificat
06.Ó jöjj, ó jöjj - Oh come, oh come
07.Földből lettünk - From an Earth we were
08.Mikor a messiás - When the Messiah
09.Hajda a szélben - Hajda in the wind
Irén Lovász – voice
István Grencsó – saxophone
Balázs Thurnay – kaval, udu, voice
Eszter Krulik – violin
Zoltán Krulik – guitar, voice
Zoltán Mizsei -- synthesizer, voice
Balázs Horváth – double bass
Csaba Gyulai - percussion
Link
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Leningrad is a Russian ska punk band from Saint Petersburg.
Composed of 14 members, the band appeared in the late 1990s around singer Sergey "Shnur" Shnurov. It soon became famous for its vulgar lyrics , the main reason it was avoided by most radio stations at first. But this did not stop its growing popularity. As Shnurov said himself: "Our songs are just about the good sides of life, vodka and girls that is." The band is known to be disliked by Moscow mayor Yuriy Luzhkov, who cancelled many of their concerts in the city. But since then, the band has made its way to radio and TV, with Shnurov even presenting some New Year's Eve TV shows.
In 2001 he recorded the album 'Made in Zhopa' with the project Tri Debila. Tri Debila was a sort of mini band for small clubs featuring vocals, tuba, accordion and drums. Although this turned out to be only a spontaneous short time project, the songs are an essential part of the Leningrad oeuvre.
01. V klube modnom
02. Polnye karmany
03. Ne so mnoj
04. Hip-Hop
05. Million alyh roz
06. Parnishka
07. Ne slyshny v sadu
08. Devushka s ponjatiem
09. Zlye puli
10. Svobodnaja
11. Jeh raz, ewe raz
12. Stop-mashina
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Serbian, Macedonian, Bulgarian tunes and the band's own compositions can be heard on this, their first album. The traditional and archatic ambience is interpreted using the Bulgarian bagpipe (gaida), the long flute (kaval), and the two-sided big drum (tapan), besides more well-known instruments. In English PRAVO means straight, true but also it is the name of a popular dance, which is featured on the first track.
01. Roupchenko pravo horo (Bulgaria)
02. Svadbarska ruchenitsa (Bulgaria)
03. Vranje (Serbia)
04. Odzacar (Serbia)
05. Várnai dallamok (Bulgaria)
06. "Podigni si bre neveste..." (Macedonia)
07. Kettős (Romania, Moldva-Bulgaria)
08. "Golubice..." (Bosnia)
09. "Katerino mome..." (Bulgaria)
10. Zetvarki (Macedonia)
11. Sop dallamok (Bulgaria)
12. Kopanitsa (Bulgaria)
13. Régen és ma (Serbia)
Csilla Boros - accordion
Attila Gera - clarinet, flute, kaval, gajda
Szilveszter Schafer - violin
Tamás Vandlik - guitar
Gábor Gera - accordion
Péter Pataj - double bass
Tamás Tömösi - tapan, darabuka
Tímea Majorosi - voice
Anikó Knyihár - voice
Anita Gera - voice
László Bakai - trumpet
Erhard Bende - prímtambura, basszprímtambura
Balázs Szokolay Dongó - bagpipe
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This international band consists of musicians from Russia, Moldova and Lebanon and plays music inspired by traditions of these countries.
Founded in 1997 in Nantes (France) by some Russian musicians, Dobranotch moved down to Saint-Petersburg (Russia) to find the new line up. For the last few years toured extensively all over the Europe. Such a well-renowned klezmer musicians as Michael Alpert, Frank London and Merlyn Shepherd appeared on stage with Dobranotch as a guests. Dobranotch released 3 CD albums in 1999, 2001 and 2004 and recently the new CD single “Handmade”. The music of Dobranotch can be heard in the number of Russian films and documentaries. Dobranotch worked with Frank London for the Russian production of his “Green Violin”.
Mitia Khramtsov is a founder member of Dobranotch. He is a specialist in klezmer fiddling. Mitia appeared at Krakow Jewish Festival with Kharkov Klezmer Band and participated in “East meets west” program at KlezCanada in 2005. Worked with Merlyn Shepherd for his coming out solo album.
Jeka Lizin been introduced to a klezmer music as a kid while playing in Saint-Petersburg Jewish Community Center Youth Band. Jeka appeared at Krakow Jewish Festival with Kharkov Klezmer Band in 2005 and worked with Merlyn Shepherd for his coming out solo album.
Andrey Sapkevich is a Saint-Petersburg Conservatory trained classical musician. While his father is a traditional musician, plays fiddle and accordion and his main teacher is Bulgarian accordion player Fiodor Jekov, so Andrey grew up with Moldavian and Bulgarian traditional music.
Osama Shakhin grew up in family of musicians in Lebanon. He learned to play darboukka from his uncle Josef Mussa.
Alexey Stepanov use to play in Saint-Petersburg Jewish Community Center Youth Band us well us Jeka Lizin.
01. 740 A.M.
02. Yoshke (Tanz Tanz Yiddele)
03. Freylekh
04. Otz Totz Pervertotz
05. Dobranotch
06. Limontchiki
07. Hora
08. Kogda My Byli Na Voine
09. Scotchne
10. Troptyanka
11. 7'40 P.M.
Mitia Khramtsov (Russia) - violin, vocal.
Jeka Lizin (Russia) - cimbalom, percussion, vocal.
Andrey Sapkevich (Moldova) - accordion, vocal.
Osama Shakhin (Lebanon) - percussion, vocal.
Alexey Stepanov (Russia) - tuba.
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"Habreira Hativeet, formed in 1977, plays music that has evolved from Sephardic, African and Eastern roots. It was the first group to play Israeli world fusion.
Shlomo Bar, the founder of Habreira Hativeet draws much of his musical inspiration from Biblical as well as modern Israeli themes. "For me," says Shlomo Bar, "music is something internal without beginning or end. In my music there are elements of prayers, wonder, yearning and messianism."
Shlomo Bar is the group's leader, composer, and multi-instrumentalist. Bar was born in Rabat, Morocco, in 1943. He draws much of his musical inspiration from Biblical and modern Israeli themes. On stage, Bar captivates his audience first by a steady beat on the drums, and then by drawing the other musicians into instrumental and vocal harmony. He arranges and composes most of the group's songs and plays drums and flute - all accompanied by a voice that comes from deep within his soul.
"With the oriental approach to art," says Bar, "there has to be continuity between past and present. In my music I try to create this bond to be a link in the chain connecting my parents to my children."
Menashe Sasson was born in Iran in 1945, where he studied classical Persian music with the famous Santur player Mr Kiu Hagigi. Later on, Menashe continued his studies in the Music Academy of Teheran and played with several orchestras. He plays the Zither type of string instrument, called the Santur, an ancient Persian classical instrument. Menashe emigrated to Israel in 1963 and since has been very active in the music field. He participated at various international festival across the world as a soloist or as member of musical ensemble. In 1980 he played the chant for Santur &Chamber Orchestra composed for Menashe by Tsvi Avni
Moshe Malienkar was born in India. He plays Dolki and Dholak.
Ilan Ben-Ami, the guitarist of Habreira Hativeet, was born in Israel in 1967. He plays the acoustic guitar and specializes in classical Spanish music. As a self taught musician, he has also a very wide theoretical knowledge in classical music. He is a graduate of "Rimon" school of Jazz and Modern Music in Israel. Ilan has been playing with Habreira Hativeet since 1990. Lately, dedicated to his individual musical search, and meeting with senior musicians, Ilan started using the ud and the Turkish Jumboosh.
Yael Offenbach was born in Israel in 1968. She studied tabla at the Indian music department in Dartington College of Arts, U.K. with Pandit Sharda Sahai, the head of the Benares gharana (style) of tabla playing. On her return to Israel in 1992, she joined Habreira Hativeet, adding a new rhythmic touch to the music of the group. Yael participated in the special multimedia program "Habria". She also accompanied several singers in Israel and participated in combinations of Indian classical music with local musicians of different styles.
Yaacob Segal was born in Jerusalem in 1963. His family has roots in Europe (Lita) and Asia (Urfu) on the Turkish border. He started to play piano and guitar at the age of 15. He graduated from the Rubin Music Academy, in the Jazz department on guitar and bass. In 1999 he started to get involved in Middle-Eastern music playing ud and tur. In 2000 he joined Habreira Hativeet."
01. A Prayer
02. Children Are Happiness
03. In The Village Of Todra
04. Dror Yikra
05. Thorns
06. A Moroccan Wedding
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"17 Hippies meet Marc Ribot and Jakob Ilja - some experiment that went very right!
Listening to Marc play with Tom Waits, John Zorn and Elvis Costello, not to forget his own projects like the fabulous Cubano Postizios, we knew that he has this very sophisticated way of making unusual and even diverse ideas come together. His very distinguished sound made (and still makes) him our favourite guitarist. We were very happy, when he liked the idea to join us on stage.
Jakob on the other hand is a musician we’ve known for years. So when his main band Element of Crime doesn’t need his distinctive guitar playing, he has jumped in from time to time to throw in his beautiful tunes on mandolin. Asked whether he could picture himself playing along with Marc, and us his first reaction was to sit down and reach for breath. He sure wanted to!"
01. Leolos Blues
02. Frau Von Ungefähr
03. Ifni Ifni
04. Galerón
05. Karsilamas
06. Was Bleibt
07. Jovano Javanne
08. Truffles & French Philosophy Go Sirba
09. Marléne
10. Besho
Antje Henkel - clarinet, saxophon
Carsten Wegener - double-bass, musical saw, vocals
Christopher Blenkinsop - ukulele, irish bouzouki, vocals
Daniel Friedrichs - violins
Dirk Trageser - guitar, vocals
Elmar Gutmann - trumpet
Henry Notroff - clarinets
Kerstin Kaernbach - violins
Kiki Sauer - accordion, harmonium, flute, vocals
Kruisko - accordion
Lüül - banjo, guitar
Rike Lau - cello, vocals
Uwe Langer - trombone, trumpet, euphonium
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This CD can be warmly recommended to all lovers of Tuvinian music. The music presented is a well performed collection of authentic vocal and instrumental pieces. Since all pieces are strictly traditional this CD cannot be compared to the performance by e.g., Sainkho. Track number 9, performed by the unusually young artist Schaktar Schulban, reveals the enormous talent of this promising singer. The CD is very interesting because next to the overview of singing styles the listener is also introduced to a representative spectrum of instrumental music.
The songs are performed by Schaktar Schulban, a 10 year old boy who has been a singer since the age of 5, the 18 years old Ondar Mongun-Ool and Bujan Dondak, the Tuva Ensemble founded in 1988 by Gennadi Tumat, German Kuular, Stas Danmaa and Alexander Saltschak.
Most of the songs are accompanied by the traditional instruments toschpulur (a lute with two strings - tracks no. 1, 2, 4, 8, 12), chomus ("jew's harp", tracks no. 3, 13 - the latter being a chomus solo performance), igil (a two-stringed instrument - tracks no. 5, 8, 14, 16), limbi (a metal flute- track no. 8), amyrga (a hunting horn, used to lure deer - track no. 8), tschansy (a lute with three strings - track no. 10) and even a shaman drum is used once (track no. 15).
Track no. 15 reminds of Shaman songs that are also sung among the Caatan living in the Mongolian region neighbouring Tuva.
01. Sygyt - Chöömej - Kargyraa - Gennadi Tumat
02. Ugbashkylar Ooldary - Tuva-Ensemble
03. Chomushgu Ayalgalar - German Kuular
04. Ogbeler - Tuva-Ensemble
05. Sygyt - Borbangnadyr - Oleg Kuular
06. Collection of Chöömej styles - Oleg Kuular
07. Chomus and Chöömej - Oleg Kuular
08. Ching S"oortukchulerining Yry - Tuva-Ensemble
09. Sygyt - Kargyraa - Schaktar Schulban
10. Sygyt - Ondar Mongun-Ool
11. Kargyraa - Bujan Dondak
12. Adym - Tuva-Ensemble
13. Chomushgu Ayalgalar - Idamchap Chomushgu
14. Tschasky-Chem Yry - Opej Andrej & Tschetschek
15. Cham Algyshy - Alexander Saltschak
16. Sygyt - Kargyraa - Opej Andrej
PERFORMERS: Gennadi Tumat, German Kuular, Oleg Kuular, Schaktar Schulban (10 years old), Ondar Mongun-Ool, Bujan Dondak, Idamchap Chomushgu, Opej Andrej, Alexander Saltschak.
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"Multicolored whirlwind of Serbian and Romanian dances leaves nobody untouched, whether Drobinska plays in underground Lisboa cafe or suburban Gasprom castle. Wedding melodies from south Slavic villages bring a sense of an unforgettable celebration, open to everybody.
Oleg Drobinski (clarinet, bagpipes, flutes, bouzouki) founded the band in 2003 after traveling in Balkans, studying in Chishinau conservatory and living a while in France.
Dmitri Ignatov (bass, bouzouki, percussion), universal musician, whose range spreads from medieval music to rock`n`roll.
Maxim Karpychev (saxphone, clarinet), graduated in Odessa conservatory, comes from Krymea, Ucraine.
Alexander Romitsyn (drums and percussion) before moving to Moscow played with different bands in his hometown Kazan, capital of Tartar republic.
Basem Al-Ashkar (al oud, - Arabian luth) native of Palestine, came to Russia to study classical music on the violin, but kept link to his roots playing al oud."
This disk is representing the folk material of Serbian, Bulgarian, Moldavian origin, superbly played in traditional style.
The disk is one more work of Oleg Drobinskiy quartet, he plays traditional wood-wind instruments along with over group members: drummer and percussionist Mario, singer Inna Bondar and Dmitry Ignatov on a bass.
01-Kolo
02-Kolinda
03-Rachenitsa
04-Mai badize pentru tine
05-Dolina hora sirba
06-Turkish
07-Nani nani
08-Auzit me, auzit
09-Moldavian
10-Cumbia
11-Skadi
12-Harvest
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Beirut's five-song EP LON GISLAND works as a nice stop-gap for those anxious for the next full-length from wunderkind songwriter Zach Condon. Condon's penchant for unique instrumentation and world-music accents (particularly klezmer and Balkan ... Full Descriptionbrass) is in full flourish on this brief 2007 release, as best revealed on the rousing instrumental "My Family's Role in the World Revolution" and the gorgeous reworking of GULAG ORKESTAR's "Scenic World"--which gets fleshed out with the requisite accordions, ukuleles, and mournful brass, recasting the song as a bittersweet death march. Condon, indisputably, has talent and vision; that he can pack as much of it into five songs as he does here is staggering.
01. Elephant Gun
02. My Family's Role in the World Revolution
03. Scenic World
04. The Long Island Sound
05. Carousels
Zach Condon - vocals, ukulele, trumpet, piano
Jon Natchez - ukulele, clarinet, baritone saxophone, glockenspiel
Paul Collins - ukulele, organ, percussion
Kelly Pratt - trumpet, flugelhorn, euphonium
Kristin Ferebee - violin
Jason Peranski - mandolin, ukulele
Nick Petree - percussion
Perrin Cloutier - cello, accordion
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The two CD set is overflowing with compositions spanning twelve years of Robin’s recordings, pieced together from Gitans, Kali Gadji, Rakhi, Un Ciel de Cuivre and Le Regard Nu. To classify Robin’s music is to stray too far off the path and the intent of his music. To put it simply, there is no classification of genre that could do his work justice. French and Spanish Gypsy influences are woven around and together with musical traditions of the Middle Eastern and Indian. Tapestry is such an overused analogy in musical fusion but in Robin’s compositions it’s an apt analogy. It’s as if a shiny piece of sound caught Robin’s ear and he simply picked it up and put it in his repertoire. To incorporate all that’s wild and wonderful in other traditions, you have to come up with a remarkable group of musicians and singers. Robin has done just that with the likes of Gabriel Levasseur, Abdelkrim Sami, Paco el Lobo, Amar Saadna, Joseph Saadna, Farid Saadna, Gulabi Sapera and a whole host of other talented musicians and singers.
The compilation is divided into two CDs, Le Jour and La Nuit. Le Jour is charged with such pieces as La Petite Mer, Rumba Do Vesou II, Swing Wassoulou, Ma Gavali and Chirmi Mala. Rumba Do Vesou II features Abdelkrim Sami “Diabolo” on the darbuka; Titi Robin, Bruno el Gitano and Mambo Saadna on guitars but it is Paco el Lobo’s, Mambo Saadna’s and Bruno el Gitanos’s passion soaked vocals that set the piece on fire. Swing Wassoulou really does swing in the combination of driving percussion with accordion, brass and Titi Robin on the oud. Gulabi Sapera’s vocals on Chirmi Mala from Rakhi soar against the chunky percussion, Gabriel Levasseur on organ and Robin on guitar.
La Nuit as the name suggests takes a darker, more reflective, tone. Patchiv from Gitans infuses the French Gypsy sound of François Castiello on accordion with Indian-sounding guitar work by Françis-Alfred Moerman and Robin. Haçer Toruk’s enchanting prelude vocals in Petite-Mere Sultane, from Un Ciel de Cuivre open the way for the intricate musical patterns of bendir, accordion, clarinet, ud and bouzouki. Django a Bagdad and Marraine are two more gems on this CD. Kali Gadji is a solo piece featuring Robin on the ud, its spare loveliness is rich beyond words.
CD 1. Le Jour
01. La petite mer
02. Panolero (version II)
03. Rumba do vesou II
04. Bleu indigo
05. Swing wassoulou (version II)
06. Réveil a la caravane
07. Fandangos maures
08. Salutations
09. Neem
10. Ma gavali
11. Chirmi mala
12. Anita (version instrumentale)
13. Rumba choucarde
CD 2.La Nuit
01. Nuit de pleine lune
02. Patchiv (extrait)
03. Petite-mere sultane
04. Pundela
05. Theme a Lise II
06. Kicsi, Kicsi Kém
07. Lovari (extrait)
08. Rumba de la casa
09. Django a Bagdad
10. Improvisation a la guitare voilée
11. Chundri
12. Marraine
13. Ma gavali - boléro (extrait)
14. Le pere et la mere
15. Leito dje dje
16. Taqsim et danse au 'oud
17. La rose de Jaipur
18. Kali Gadji
19. Epilogue en maqâm rast
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After playing as a group for 11 out of the past 16 years, with 7 albums under their belts, Kolinda is still relatively unknown in their native Hungary and virtually unheard of in North America.
"They're one of the most interesting European groups that I've heard," says Gary Cristall, organizer of the Vancouver Folkfestival, "but they do it in a different way. Even though they were doing traditional stuff, it had a different edge to it. They've never been looked on very favorably in Hungary. They were always a little too far outside."
Kolinda's reputation for being outside comes from the way they mix elements of Hungarian and Balkan folksongs with a large amount of jazz, a bit of classical, and even a few notes of rock. Their music manages to melt the passion and urgency of gypsy music with the cerebral with of cool jazz, an exciting combination that makes them one of the most successful hybrids of folk and contemporary music around today.
Kolinda first formed in 1974, and in the next four years they released three albums on the French Hexagone label. But in 1978 the group disbanded and the members went on to other projects.
In 1984, the group got together for a reunion tour. They've been playing together ever since, and have recorded four albums. But even with their diverse sources of inspiration , Kolinda never sounds contrived.
While other "ethnofusion" bands often seem like a patchwork of styles and cultures - contemporary instrumentation precariously and arbitrarily tacked on to ethnic folk music - Kolinda always sounds inevitable. They weave all their various influences together so seamlessly that it somehow seems as if it could be no other way. Their sounds is a solid, unified whole that blends fervor and freshness without a hint of artifice.
01 - Ilju haramia
02 - Szerelem
03 - Tánc
04 - Csodafiú szarvas
05 - Töredékek
06 - Cigány hallgató
Péter Dabasi: voice, guitar, tamboura, zither, gardon
Ferenc Kis: voice, violin, Turkish hautbois
lván Lantos: voice, bass, Turkish hautbois, pipes, percussions, gardon
Ágnes Zsigmondi: voice, flute
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The Budapest Klezmer Band comes from the heart of Europe, from the very geographic location where Klezmer music originates. The Band's performance is an exciting musical experience in traditional Jewish folklore.'
The band is led by composer, arranger Ferenc Jávori, who was raised on Klezmer music in Munkács (Munkacevo, nowadays part of Ukraine). He learnt his trade from some of the last surviving musicians there, where music was an integral part of Jewish life. The BKB play Klezmer music that is seeped in traditional Jewish life and folklore.
Other members of the band are also exceptional musicians, being graduates of the Franz Liszt Academy of Music of Budapest.
"Now here's a different sort of crossover - Eastern European/Hungarian/gypsy music mixed with Yiddish klezmer. The seven-piece ensemble includes clarinet (of course), violin, doublebass, accordion, harmonica, trombone, drums and all sorts of ethnic percussion instruments. Pianist and leader Ferenc Javori does all the arrangements; there is the wedding dance from Fiddler on the Roof and Yiddish songs by a couple of other composers. The sadness as well as the joy and happiness is communicated in the Yiddish music, which can really swing sometimes. The title tune instrumental is a total gas. All involved seem to be having a great party. Never mind most won't understand the few vocals. This is fun stuff!"
01. Tartar dance
02. Jewish dance
03. Ferenc Jávori: Fantasie (Fiddler On The Roof - Wedding Dance)
04. Hora
05. Sirba
06. ABraham Ellstein: Jidl mit'n fiddl' (Dunai Tamás - clarinet)
07. Ferenc Jávori: Emancipated klezmer
08. Sholom Secunda: Donna-Donna
09. Ferenc Jávori: Yiddishe Blues
10. Sholom Secunda: Bei mir bist du schejn
Ferenc Jávori - leader, piano, voice
István Kohán - clarinet
Katica Illenyi - violin, voice
Anna Nagy - accordion
Gábor Tamás - trombone
Gábor Kiss - doublebass
Balázs Végh - drums, percussion
Guest:
Tamas Dunai - voice, clarinet
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Les Hurlements D'Leo is a human adventure which has travelled the world: Eastern Europe, Germany, Hungary, Russia, Japan, Australia, USA, Canada.
Their music is a mixture of Java, acoustic rock and Eastern European sounds and is played on various instruments. On stage the guitar, violin, accordion, double bass, trombone, drums, trumpet, saxophone and piano join together for a most enjoyable sound.
"Gypsy, jazz, chanson and more blend with punk energy in this disc...its hard to describe with French vocals over acoustic guitars, pianos, upright bass, brass, fiddle, accordian and more sound when combined...Fans of music in general will like this..."
01 - Lame Soueur
02 - La Chambre
03 - Harley Davidson
04 - La Racheteur D'ardoises
05 - La Laisse
06 - Kaleidoscope
07 - Mon Cul!
08 - Simon Simone
09 - Ethnique Ta Mere
10 - Le D'amelie
11 - La Laisskwing
12 - Ouest Terne
13 - Roi Des Villes Roi Des Champs
14 - La Piave
Les Hurlements d’Léo are:
Laulo: Singer, guitar
Remy: Drums, Derbouka
Pepito: trompet
Zeb: Violin, guitar
Jojo: accordeon, trombon
Benbziz: saxo
Dawed: contrabass
R1: Singer, guitar
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"On Pandoukht, Yengibarjan teams with Frank London, whose experimentation with eastern European sounds are legion; they converge around the shared Armenian and Jewish experience of genocide, joined by guitarist Gábor Gadó, bassist Horváth and multi-percussionist András Dés. While trumpet is not typically associated with tango, London finds common sonic ground in a blend of their respective compositions with eastern European roots. On "Berd Par," an Armenian folk song, the duo set up a trumpet-accordion dialogue against a simple two-chord Latin figure, while "Hoy Noubar," "Ararat" and "D'le Yaman" mark out various Levantine traces, the latter with London's sighing trumpet engaged in a tete-a-tete with Yengibarjan's restrained exhalations. London's "Golem Khosidi" and the traditional Jewish tune "Meron Nign" confirm the shared wellsprings of Jewish and Armenian folk song. There's whimsy here too, as with "Liliputien," a fleeting waltz duet."
1.Overture
2.Berd Par
3.Hoy Noubar
4.Ararat
5.D'le Yaman
6.Golem Khosidl 7.Pandoukht
8.Liliputien
9.Meron Nign
Gábor Gadó - Guitar
András Dés - Percussion
David Yengibarjan - Accordion, Main Performer
József Horváth Barcza - Bass
Frank London - Trumpet
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"The ensemble BORAGO was established in spring of 2004. It is an acoustic trio that plays which they collected themselves traditional folk songs. They have a special instrumentation, that gives a unique sounding. They have been already friends for a while, when popped up the idea of setting an ensemble. We can say it has just happened by chance.
But choosing the traditional Hungarian songs as roots was not by chanche, because all tree of them knew, these songs transmit beautiful feelings, wisdom and colourful tunes. When Anita Hornai was a child she partook numerous competitions of singing inspired by the musical school where she studied. To make there repertoire more colourful she visited Hungarian people living in Transylvania, where she collected many forgotten folk songs. It became the base of their own style, then they added their own knowledge and experience of jazz, funky and classical music. During working together they noticed that their ideas build and create a totally new world. Zsuzsa Warnusz brought proper harmonies. Gábor Bizják utilizing his instrument for all it's worth, took on soloist or bass lead. It was completed by Anita Hornai's flute play."
The Borago Band recommend this record to those who enjoy the atmosphere of Hungarian folk music with an unknown twist, garnished with unique sound and orchestration.
”Songs from the past, in the present ... for the future. The water of the „pure spring” requires devotion and humbleness from those wanting to quench their thirst. Folk music, long preserved by it simplicity, should not lack either of these two, even when given a new garment, since this would lead to the loss of its essence. Borago would certainly not be able to be so stirring if the group was not honest, passionate and compelling while at the same time communicating innocence and naivity.”
1. Megállj, megállj / Wait, Wait
2. Megrakják a tüzet / Kerek erdő / Building The Fire / Round Forest
3. Ne csicseréssz / Don’t Twitter
4. Nem arról hajnallik / The Sun Doesen’t Rise From There
5. Sej, búra / Ne bánd, édes virágom / Woe Is Me / Don’t Regret It, My Sweetness
6. Citrusfa / Citrus Tree
7. Engem anyám úgy szeretett / My Mother Loved Me So Much
8. Röpülj páva / Béreslegény / A bolhási kertek alatt / Fly Peacock / Farm Hand / Beyond The Fields Of Bolhás
9. Kicsiny a hordócska / Apró murok / Fekete tyúk / Tiny Wee Barrel / Little Wee Carrots / Black Hen
Anita Hornai – vocal, flutes, doromb
Zsuzsi Warnusz – piano, keyboards, vocal
Gábor Bizják – french horn, vocal
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"It's System of a Down finally consumed by their folkisms; it's a Romany campfire gathering where gypsies turn amps up to eleven. It's six languages spilling over rock, hip-hop, samba, balladry, and punk. But most of all, it will rock your world.
Seattle's adopted stepchildren Kultur Shock return true to form with their fourth release, We Have Come to Take Your Jobs, once again characterized by their unique brand of Balkan folk music denoted by heavy guitars, relentless rhythms, searing violins, and sometimes irreverent, always impressionable vocals. In the words of singer Gino Yevdjevich: "After ten years, we're naming our new album what we should have named our first one."
"The immigrant's story - America is built on these tales of hardship and hard work, of flights from persecution or poverty, of boot-strap pulling and success building. Buried beneath these American myths, however, are the uglier truths of discrimination and exploitation, racism and riots, and a generational struggle for rights and respect. Regardless of the all-embracing words on the Statue of Liberty, immigrants have never been particularly welcome on these shores, something most of Kultur Shock have discovered the hard way. But they're not taking America's abuse lying down. "We came to take away your jobs," singer Gino Yevdjevich sardonically taunts on "God Is Busy," and although He well may be, thankfully there's always an immigrant available to help out with life's more mundane tasks. We're grateful for their assistance, as long as they stay where they belong -- in the economic wilderness, a point driven home on "Poor Man's Tango." With a finely honed sense of black humor, an irreverence for all this country holds so hypocritically dear, and a view of the world few of us have seen, Kultur Shock are determined to rip the blinders from Americans' eyes. But it's not all class warfare and politics, there's "Duna"'s modern fairy tale, a Balkan- punk love song, and a wailing lament for Yevdjevich's home, "Sarajevo." That latter number, like a clutch of others, is not in English, but regardless, you can hear his pain, anger, confusion, and bitterness in every incomprehensible word. The emotions are unmistakable, regardless of the language they're delivered in, with the music speaking just as clearly. The band's dizzying blend of hardcore, post-punk and rock, with Balkan stylings, Middle-Eastern influences, and Spanish flavors splashed across the arrangements, make for a heady sound that's at once familiar yet teasingly exotic. Exuberant, angry, fun-loving, haunting, thought provoking and infectious, We Came to Take Your Jobs Away is a stunning album, the band's best to date, an exhilarating journey into a world inhabited by people too many Americans would like to just send back where they came from. How incredibly sad."
01.God Is Busy, May I Help You
02.Tango La Victoire
03.Duna
04.Zumbul
05.Gino Loves You
06.Istanbul
07.Poor Man's Tango
08.Nano Mi Hermano
09.Sarajevo
10.Hashishi
Gino Yevdjevich (Sarajevo, BiH) – vocals, trumpet, tarabuka
Mario Butkovic (Brčko, BiH) – guitar, vocals
Val Kiossovski (Sofia, Bulgaria) – guitar, vocals
Masashi Kobayashi (Tokio, Japan) – bass, vocals
Matty Noble (Long Island, USA) – violin
Chris Stromquist (Seattle, USA) – drums
Link
With his roots in the music of the desert nomads of Western Sudan, where he was born in the region of Kordofan, Abdel Gadir Salim pioneered a mix of urban and folk music in the early 1970's, coming up with this marvelous hybrid of African, Arabic, and jazz; it incorporates some Western instruments, like the saxophone and accordion, and the music he writes is melodic, rhythmic, and mellow. Anyone who likes reggae or African music will appreciate Salim's talent, and find in his songs a lovely and kindred spirit.
1. Rada Al-Qulayb - Give Me Back My Tender Little Heart
2. Bitzid Min 'Adhabi - She Increases My Pain
3. Ghannu Ya Ikhwani - Sing, O My Brothers
4. Jamil Al-Sourah - The Beautiful Face
5. Ghaba Nawmi - I Can No Longer Sleep
6. Qidrechinna - I Am Destined To Love
7. Ana Batraki - I Am Under Your Spell
8. Maktul Hawak - Tied By Your Love
Link
pass: bluesmen-worldmusic.blogspot.com
Barbaro third album was ready: Barbaro III – with a fresh dynamism and taste breathing new life into the band’s characteristic “steppe sound”.
01 - Fényrepülés
02 - Kerek erdő
03 - Bárányos
04 - Fény világíts, szél csendesedj
05 - Zene szól
06 - Tűpárna a szívem
07 - Pszichiátert akarok!
08 - Álmomban
09 - Elegem van mindenből
10 - Madárének
11 - Őshaza
Miklós Both– vocal, guitar
Sándor Cziránku– guitar
Sándor Herpai– drums
Tamás Zsoldos - bassguitar
Link
Original uploader: kecsej. Thanks!
